DOCSLIB.ORG

J a N U a R Y 2 0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
J a N U a R Y 2 0 Published by the American Recorder Society, Vol. XLVIV, No. 1 january 2008 january Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com Look at scans of the music, sound samples and order online: Call Toll Free 888-665-2721 WWW.MAGNAMUSIC.COM Nagel: Incantations for the Solar Two New Year Carols Year Celebrate the new year with your 4 deeply satisfying pieces based on group by enjoying The Wassail Song the moods of the seasons. The andAuldLangSyneforSATB/ Winter Solstice Song, Dance for AATB and piano. Score and parts. May Eve, Summer Canticle and Item#LMP0150, $3.75 Rune for Autumns Wind. SAT re- corders. Item#TR00040, $7.25 127(:257+<1(:6 from your friends at Magnamusic Distributors Hall: Five for Four Morgan: Recorders Five light hearted Scottish Based on Historical quartets for SATB Models recorders In homage to Fred Mor- Item# PRM0223 ~ $16.50 gan, this extraordinarily beautiful 205 page Razz Jazz for Two Soprano Recorders book details the life and work of one of the 5 jazzy duets. Item# PRM0198 ~ $8.95 most skilled recorder makers ever. Tons of Kemps Jig exquisite photographs in a beautiful binding. An excellent jig for NAB/AAB recorders. Item#1MH06406, $69.95 Item# PTYW022 ~ $9.00 Suite Hibernica,forSAT recorders, Item#JR00007 ~ $18.50 Fantasias on traditional Irish songs like Saint Patricks Day, Londonderry Air, The Wearing o the Green, and more Dowland Lite Purcell: How Having trouble assem- Pleasant is this bling a quintet to play Flowery Plain Dowland consorts? Here This chamber cantata are eight of our favorite is Purcell's culmina- Ayres distilled down to tion of several hun- their essence, to be en- dred years of beauti- joyed by three players, ful madrigals and ATB/STB. Texts are included, in case a vocalist arias for AA recorders, soprano and tenor wants to join the fun. TR00062 ~ $3.95! voices and basso continuo. Score and parts. Item# BCMS012 ~ $16.50. Four Playford Dances, for mixed recorders and voices Boisterous revelry and poignant meditation in renaissance Europe care of The York Waits group. 3-5 voices/recorders, Item# PTYW012, $11.50 Thirteen Stars Mendelssohn: 13 wonderful early Andante from tunes from colonial, Symphony No 4 revolutionary, and fed- This Italian symphony eralist America, harmo- is one of his most nized and arranged for popular works, for recorder duet, trio or SSAAATT,B/Gb/Sb Five Fine Scottish quartet with vocals. recorders Item# Songs, for SAT Item# KESUP08, MK03305, $39.95 Item# PRM0224 $19.95 Praetorius: 2 Antiphonal Xmas Chorals, $13.95 SSAT,TTBB, Item# MK03308, $26.95 EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLVIV, Number 1 January 2008 hose of us who were able to attend the T2007 Boston Early Music Festival were FEATURES able to hear a talk by Anthony Rowland- The Background to Lully’s Use of Recorder Symbolism. 7 Jones, who was also there to receive the by Anthony Rowland-Jones ARS Presidential Special Honor Award. The wheels were set in motion then to share the information in that talk Elementary B–A–G Soprano Recorder Composition on Lully’s use of recorders as an article in Lesson Plan . 18 AR. With some revamping by the author to 7 by Laurie Tretter make the spoken word fit the printed page, the article and its illustrations appear here Recorder Rally for Recorder Day! . 20 (page 7). by Matthias Maute You may have noticed that a new occasional brief bit of recorder advice, Technique Tip, began to appear several DEPARTMENTS issues back. Tish Berlin wrote a tip for Advertiser Index . 40 the September AR, Frances Blaker sent a 26 warm-up idea for November, and other Book Reviews . 33 professionals are continuing to offer short Chapters & Consorts . 26 solutions to common problems. In this Classified . 40 issue, Vicki Boeckman lists fingerings to help you play better in tune (page 32). Compact Disc Reviews . 30 Also in this issue, an expanded Education . 16 message from ARS President Tish Berlin Music Reviews. 36 (pages 3 and 5) recounts some reflections 33 she collected after asking people how the On the Cutting Edge. 24 recorder had affected their lives. You may President’s Message . 3 see yourself in their tales. ON THE COVER: With Play-the-Recorder Month Detail from a Q&A . 29 vanitas by Simon nearing, you may be looking for music to Renard de Response . 6 play. Matthias Maute was commissioned St. André, Tidings . 4 to write a piece for ARS members to play Lyon, France during March (page 20). New this year ©2008 Bits and Pieces: Mollenhauer buys Rössler is another feature for Play-the-Recorder Month: a lesson plan for teachers of classroom recorder (page 18), with ideas GAIL NICKLESS, Editor for composing a piece as part of the annual March celebration. (Members who Contributing Editors make classroom visits with their recorders FRANCES BLAKER, Beginners & Technique; TOM BICKLEY, Compact Disc Reviews; CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A may also find ideas here.) The lesson plan TIMOTHY BROEGE, 20th/21st-Century Performance and music files will be posted on the ARS LISA SCHMIDT, Design Consultant web site at <www.americanrecorder.org/ events/ptrm.htm as a resource for Advisory Board members; other pieces composed by Martha Bixler • Valerie Horst • David Lasocki Bob Marvin • Thomas Prescott • Catherine Turocy young players may also appear there. Kenneth Wollitz Web sites have become resources for all of us, and now even recorder lessons Copyright © 2008 American Recorder Society, Inc. can be offered over the Internet. See Visit AR On-Line at <www.americanrecorder.org> American Recorder (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published bimonthly (January, March, May, September, and Patrick O’Malley’s description of how November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a subscription to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine he teaches in cyberspace (page 16). Also does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word for Windows 95, or RTF preferred), or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwise keep an eye on changes to the ARS web noted. Photos may be sent as color or black-and-white prints, or 300dpi TIF files. Advertisements may be sent in PDF or EPS format, with fonts embedded. Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122-3122; 303-794-0114 (phone & fax); site—the e-mail address to send me news <[email protected]>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, 1097 Main St., Georgetown, CO 80444. is now <[email protected]> Recordings for review: Tom Bickley, 2208 Cedar St., Berkeley, CA 94709. Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters and other reports: Editorial office. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH as part of the new AR online setup. 44136-5036; 440-238-5577; 440-572-2976 (fax); <[email protected]>. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Society, 1129 Ruth Drive, St. Louis, Gail Nickless MO 63122-1019. Periodicals postage paid at St. Louis, MO, and at an additional mailing office. ARS Chapters ALABAMA GEORGIA Hudson Mohawk: Darleen Birmingham: Atlanta: Koreman (518-482-6023) Janice Williams (205-870-7443) Phil Hollar (770-253-0691) Long Island: Margaret H. Brown (516-765-1867) ARIZONA HAWAII Mid-Hudson Valley: Phoenix: Linda Rising Hawaii: Irene Sakimoto Cope Craven (845-454-1642) AMERICAN (602-997-6464) (808-734-5909) New York City: Gene Murrow Arizona Central Highlands (Prescott): Big Island: Roger Baldwin (646-342-8145) Georgeanne Hanna (928-775-5856) (808-935-2306) Rochester: RECORDER Tucson: Scott Mason (520-721-0846) ILLINOIS David Tilley (585-259-5583) Rockland: Jacqueline Mirando ARKANSAS Chicago: Nadine Petersen SOCIETY (845-624-2150) Aeolus Konsort: (603-654-2629) INC. Don Wold (501-666-2787) Westchester: Carol B. Leibman Chicago-West Suburban: (914-241-3381) Honorary President Bella Vista: Barbara McCoy Laura Sanborn Kuhlman (479-855-6477) ERICH KATZ (1900-1973) (630-462-5427) NORTH CAROLINA CALIFORNIA Triangle: Mary McKinney Honorary Vice President LOUISIANA Central Coast: Margery Seid (919-489-2292) INIFRED AEGER Baton Rouge: W J (805-474-8538) OHIO John Waite (225-925-0502) Statement of Purpose East Bay: Susan Jaffe Greater Cleveland: (510-482-4993) New Orleans: Chris Alderman The mission of the American Recorder Society is (410-242-3395) Edith Yerger (440-826-0716) to promote the recorder and its music by Inland Riverside: Greg Taber Toledo: Marilyn Perlmutter (951-683-8744) MARYLAND (419-531-6259) developing resources and standards to help Monterey Bay: LouAnn Hofman Northern Maryland: OREGON people of all ages and ability levels to play and (831-439-0809) Richard Spittel (410-242-3395) study the recorder, presenting the instrument North Coast: Kathleen Eugene: Lynne Coates (541-345-5235) to new constituencies, encouraging increased Kinkela-Love (707-822-8835) MASSACHUSETTS Orange County: Lois Sheppard Oregon Coast: Corlu Collier career opportunities for professional recorder Boston: Laura Conrad ( 541-265-5910) (562-431-0454) & (617-661-8097) performers and teachers, and enabling and Rayma Zack (949-624-3448) Recorders/Early Music PENNSYLVANIA supporting recorder playing as a shared Redding: Kay Hettich Metro-West Boston: Sheila Philadelphia: Dody Magaziner social experience.
Load more

Recommended publications
  • Ensemble Are Exceptions, but I Feei"'T'hat Sonority (By Which
    RR-14 INFLUENCE 25 December 1968 28 Uguisud ani-machi Shibuya-ku, Tokyo Mr. Richard NolZe Institute of Current World Affairs 535 Fifth Avenue New York, N.Y. 10017 Dear Dick With over two years of residency in Japan, we are thought of as "knowledgeable" on a broad range of Japanese phenomena. This only by virtue of the fact that we have slightly more experience than those who have not visited this contradictory land of urgency and restraint. The most frequent qUestion addressed to me, as a composer, during our recent travel in the United States was "how has your work been influenced by Japanese music?" It was an irritating and difficult question for several reasons, foremost of which was my aversion for the practice of deliberately "adopting" influences (as opposed to the conviction that diverse influences naturally assimilated are an honorable resource that ought to be more regularly drawn upon). My response to the question usually be,an something like, "what do you mean, 'influence'?" as though the questioner suspected something intentional on my part. There are at least three or four composers whose economic positions have been enhanced by exotic materials that they adopted in calculated fashion during an artificially brief acquaintance. My instinct is to avoid the implication, however remote, and, in any case, I am inhibited from such practices by a musical style that does not depend on melodies or rhythms of any sort. There are, of course, other less obvious materials, "influences," that one might commandeer', exotic instruments, unfamiliar instrumental or vocal styles| esthetic attitudes; forms; and so on.
    [Show full text]
  • The Shakuhachi and the Ney: a Comparison of Two Flutes from the Far Reaches of Asia
    1 The Shakuhachi and the Ney: A Comparison of Two Flutes from the Far Reaches of Asia Daniel B. RIBBLE English Abstract. This paper compares and contrasts two bamboo flutes found at the opposite ends of the continent of Asia. There are a number of similarities between the ney, or West Asian reed flute and the shakuhachi or Japanese bamboo flute, and certain parallels in their historical development. even though the two flutes originated in completely different socio-cultural contexts. One flute developed at the edge of West Asia, and can be traced back to an origin in ancient Egypt, and the other arrived in Japan from China in the 8 th century and subsequently underwent various changes over the next millenium. Despite the differences in the flutes today, there may be some common origin for both flutes centuries ago. Two reed·less woodwinds Both flutes are vertical, endblown instruments. The nay, also spelled ney, as it is referred to in Turkey or Iran, and as the nai in Arab lands, is a rim blown flute of Turkey, Iran, the Arab countries, and Central Asia, which has a bevelled edge made sharp on the inside, while the shakuhachi is an endblown flute of Japan which has a blowing edge which is cut at a downward angle towards the outside from the inner rim of the flute. Both flutes are reed­ less woodwinds or air reed flutes. The shakuhachi has a blowing edge which is usually fitted with a protective sliver of water buffalo horn or ivory, a development begun in the 17 th century.
    [Show full text]
  • Ventus Series: Tin Whistle
    Ventus Series: Tin Whistle An Impact Soundworks Library Designed by Constructive Stumblings | Performed by Josh Plotner ​ ​ ​ Scripted by Nabeel Ansari and Andrew Aversa ​ Instrument v1.00 OVERVIEW ​ Our Ventus Series of ethnic woodwind instruments began with the Japanese Shakuhachi, and continues in this ​ ​ installment with a journey to Europe and the wonderful Tin Whistle, most closely associated with the Emerald Isle ​ ​ ​ itself - Ireland. This gorgeous instrument, a type of recorder, has origins dating back tens of thousands of years and has found its place squarely in the heart of Celtic music among other things. Its pure tone is also instantly recognizable in some of the most beloved soundtracks of all time, such as Howard Shore’s score to the Lord of the Rings film trilogy. ​ ​ Much like the Ventus Shakuhachi, our Tin Whistle is sampled in meticulous depth with a wide variety of ​ ​ articulations, ornaments, and phrases to inspire your music and creativity. Use it for soaring, agile solo performances or slow, flowing and emotive parts; it works just as well! Of course, the instrument also includes our Total Articulation Control Technology (TACT), unifying and ​ ​ simplifying the process of creating your own personal mapping setup for the instrument. We hope you enjoy our Ventus Series Tin Whistle! ​ ​ INSTALLATION ​ 1. Install the Pulse application if you don’t already have it. Pulse is a cross-platform desktop app that lets you ​ ​ ​ ​ download and install your libraries with blazing speed! https://pulsedownloader.com/ 2. Once Pulse is installed, open it and enter your Ventus Tin Whistle download code. Follow the instructions to ​ ​ download and install the library.
    [Show full text]
  • Sound Sets in Sibelius 2
    Sound sets in Sibelius 2 For advanced users only! Before attempting to create your own sound set, it is worth checking if one is already available: see the online Help Center at http://www.sibelius.com/helpcenter/resources/ for the latest additions. Disclaimer Sound sets are complex files and are not designed to be user-editable. Using a sound set with incorrect syntax may cause your copy of Sibelius to behave unpredictably or even crash. Sibelius Software accepts no responsibility for any loss of data or other problems experienced as a result of editing the supplied sound sets or creating new ones. This document is provided ‘as is’, and no warranty, implied or otherwise, covers the information contained within. Please also note that we do not offer technical support on the editing or creation of sound set files. Filenames The filename of a sound set file is insignificant (i.e. it is not shown in the Play Z Devices dialog), but we recommend that it should be fairly descriptive. It should also be 31 characters or less (including the .txt file extension) to ensure compatibility with all file systems. Sound set syntax Please refer to the General MIDI.txt file inside C:\Program Files\Sibelius Software\Sibelius 2\Sounds for an example of correct sound set syntax. In fact, you may wish to copy this file and use it as the basis of your own sound set. The sound set starts with an open brace { and ends with a closing brace }. The body of the sound set contains the following fields within the opening and closing braces as a series of ‘tree nodes’, in this order: MIDIDevice Syntax: MIDIDevice "GM (General MIDI)" The name of the device, e.g.
    [Show full text]
  • Wye---A-History-Of-The-Flute.Pdf
    A History of the Flute Trevor Wye 1. Whistles What a daunting prospect to write a simple flute history without missing anything. Looking at a pamphlet a few years ago, it stated that in the South Pacific Islands, those tiny islands south of Hawai, there are about 1300 different named flutes. Our modern flute is just one of thousands of flutes worldwide of all shapes and sizes from miniature ocarinas to giants like the Slovakian Fujara. A sensible way to begin would be to understand how flutes are made to emit sound and so we will look at the four main varieties. These are Endblown where the player blows across the end of the tube; Sideblown as in our modern flute; a Fipple or encapsulated such as is found in a referee's whistle and a Globular flute such as in ocarinas and gemshorns. In all cases, the air is directed against a sharp edge which causes the air to alternate between entering the tube where it meets resistance, then shifting to going outside the tube. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube. The fipple flute is sounded by the player directing air through a tube or windway against the sharp edge. An example is the recorder and the pitch is changed by covering the holes down the tube in succession. Globular flutes are sounded either by blowing across a hole or via the fipple which is connected to the 'globe' shown above, though the way the instrument responds is unlike the whistle; the notes can be changed by uncovering any hole, no matter in what position it is placed.
    [Show full text]
  • "San Koten Honkyoku" Op the Kinko-Ryu: a Study of Traditional Solo Music for the Japanese Vertical End-Blown Flute— the Shakuhachi
    THE "SAN KOTEN HONKYOKU" OP THE KINKO-RYU: A STUDY OF TRADITIONAL SOLO MUSIC FOR THE JAPANESE VERTICAL END-BLOWN FLUTE— THE SHAKUHACHI by NORMAN ALLEN STANFIELD B.Musi, University of British Columbia, 1970 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES (Department of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 © Norman Allen Stanfield, 1977 In presenting this thesis in partial fulfillment of the requirements for an advanced degree at The University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Depart• ment or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Music The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 October, 1977 ABSTRACT The "San Koten Honkyoku" are three ("san") traditional ("hon") compositions ("kyoku") which are distinguished and venerated for their archetypical ("koten") characteristics. Of the many "schools" ("ryu") of musicians who claim proprie• torship or proprietary control of versions of these melodies, the Kinko-ryu has the strongest claim to historicity. Their medium of performance is the "shakuhachi"—a bamboo, end- blown, vertical flute—and their aesthetics is founded on Zen Buddhism. The progenitor of the shakuhachi most likely originates from the Mesopotamian civilizations of the fourth millennium B.C.
    [Show full text]
  • Flutes of MIM and a Special Fiddle As You Tour the Galleries, Look out for These Flutes from Around the World
    ® MUSICAL INSTRUMENT MUSEUM Flutes of MIM And a Special Fiddle As you tour the galleries, look out for these flutes from around the world. When you find one, check it off your list. Artist Gallery Africa Gallery Native American Plains Flute q Vumi q R. Carlos Nakai Democratic Republic of the Congo R. Carlos Nakai popularized the This vessel flute, made from a dried sound of these cedar flutes in Native fruit shell, has a spherical shape that American Plains music. makes it unique. Middle East Gallery Shabbába q Syria United States/Canada Gallery This traditional Arabic flute is intricately decorated with a mother-of-pearl inlay. Piccolo q Sousa’s Band This tiny piccolo dates back to the early 20th century. Oceania Gallery Europe Gallery Side-Blown Flutes q Noce q Papua New Guinea Italy The human figures on this pair of This flute, or whistle, is made from a side-blown flutes are accompanied real walnut. by animal shapes and other decorations. What else can you see carved into these flutes? Pig-Headed Fiddle q England This fiddle was used in the filming of the last Harry Potter film. Can you find other instruments here at MIM that incorporate animal figures? Asia Gallery Shakuhachi q Japan The shakuhachi is a flute made from bamboo. At the bottom, the trimmed roots of the bamboo plant are visible. Europe Gallery Latin America Gallery El Emperador organillo q Chile Ocarina q Look carefully for the flutes hidden Puerto Rico on this organillo. How many can you count? This ocarina is a vessel flute in the shape of a sea turtle.
    [Show full text]
  • Jianpu Notacija
    LITHUANIAN ACADEMY OF MUSIC AND THEATRE FACULTY OF MUSIC DEPARTMENT OF WIND AND PERCUSSION INSTRUMENTS Ningrui Liu MASTER‘S THESIS DEVELOPMENT AND DIFFERENCE OF CHINA AND WESTERN MUSIC FOR FLUTE Study Program: Music Performance (Flute) Advisor: Assoc. Prof. Kazys Daugėla LIETUVOS MUZIKOS IR TEATRO AKADEMIJA BAIGIAMOJO DARBO SĄŽININGUMO DEKLARACIJA 2020 m. balandžio 27 d. Patvirtinu, kad mano tiriamasis rašto darbas (tema) “DEVELOPMENT AND DIFFERENCE OF CHINA AND WESTERN MUSIC FOR FLUTE” (“Kinijos ir Vakarų Europos muzikos fleitai raida ir skirtumai” yra parengtas savarankiškai. 1. Šiame darbe pateikta medžiaga nėra plagijuota, tyrimų duomenys yra autentiški ir nesuklas- toti. 2. Tiesiogiai ar netiesiogiai panaudotos kitų šaltinių ir/ar autorių citatos ir/ar kita medžiaga pažymėta literatūros nuorodose arba įvardinta kitais būdais. 3. Kitų asmenų indėlio į parengtą baigiamąjį darbą nėra. 4. Jokių įstatymų nenumatytų piniginių sumų už šį darbą niekam nesu mokėjęs (-usi). 5. Su pasekmėmis, nustačius plagijavimo ar duomenų klastojimo atvejus, esu susipažinęs(- usi) ir joms neprieštarauju. Parašas/Signature Ningrui Liu 2 ĮVADAS Mano gimtojoje šalyje iki šiol naudojama Jianpu notacija. Daugelį žymėjimų, muzikinių ženklų yra sudėtinga išversti į anglų kalbą. kad būtų lengviau suprantama Vakarų Europos žmonėms. O visą Kinijos muzikinę kultūrą ir šios šalies muzikinės kultūros specifiką galima pajausti tik ilgai gyvenant Kinijoje. Tačiau ir visoje Kinijoje yra tik keletas žmonių, kurie gali palyginti, bei aprašyti esamus skirtumus tarp muzikos kūrinių sukurtų kinų bambukinei fleitai ir Vakarų Europos muzikos skersinei fleitai. Tiriamajame darbe nagrinėjami skirtumai ne tik tarp Kinijos ir Vakarų Europos muzikos fleitai, bet ir pateikiama analizė apie specifinius grojimo stilius Pietų ir Šiaurės Kinijos bambukinėmis fleitomis ir jų skirtumus.
    [Show full text]
  • T I the Systemisation of the Musical Language
    Ti TheSystemisation of the Musical Language of the Fukezen SfzakufzacfziHonkyoku VlastislavMatoušek 1. Su1zEN - 'BLOWINCZEN': SPIRITUALITY AS Mus1c, AND Mus1c AS SPIRITUAL PRACTICE Until the middle of the 19th century theshakuhachi bamboo flute,nowadays something of a symbol of the Japanese musical tradition, functioned not as a musical instrument (gakki)but primarily as a religious tool (hóki) exclusive to the Zen Buddhist Fuke sect. Whilst the secť s komusó - or "monks of nothingness" - spent most of their time playing, they did not regard themselves as musicians, for the musical activity which they engaged in, and which the uninitiated observer would surely term "playing the flute", was actually just a form of Zen meditation in which esoteri­ cally transmitted pieces of music now referred to collectively as honkyoku (lit. "basic pieces"), were performedon the instrument. This manner of playing the shakuhachi (known as the fakestyle), as has come down to us primarily through the traditions of the Myóanji ('Light and Dark­ ness') Temple in Kyoto, is first and foremost a manifestation of the Zen, of its emphasis on the real and true, its focus on the essence, its rejection of that which is external and superficial. Its ideal in sound is 'the murmuring of the wind through the bamboo grove', and its basic princip al is that of ichi on jobutsu, or one-sound Buddhahood. Kurosawa Kinko I (1710-1771), the founder of the KinkoRyú is said to have verbalised the concept of suizen with such laconic kóan­ like pronouncements.1 ("The members ofthe Fuke sect have le.ftus with very little writ­ ten materialelucidating the philosophy which underlaytheir playingshakuhachi as suiz.en, the blowing Zen, the honkyokupresumably speakingfor themselves".
    [Show full text]
  • N O V E M B E R 2 0
    Published by the American Recorder Society, Vol. XLIV, No. 5 november 2003 A Flanders Recorder Quartet Guide for Recorder Players and Teachers BART SPANHOVE With a historical Chapter by DAVID LASOCKI The purpose of this book is to help recorder players become better ensemble members. Bart Spanhove has written the book in response to numerous requests from both amateurs and professionals to set down some practical suggestions based on his own experience and thereby fill a long-felt gap in the literature Alamire Music Publishers about the recorder. Toekomstlaan 5B, BE-3910 Neerpelt Price: 22,06 Euro T. +32 11 610 510 Orders can be placed at F. +32 11 610 511 www.alamire.com [email protected] EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLIV, Number 5 November 2003 Death and music are no strangers. FEATURES Death is often found in operatic context— A Recorder Icon Interviewed . 8 the tragic ending in Giacomo Puccini’s A Talk with Anthony Rowland-Jones, Tosca when the title figure leaps to her by Sue Groskreutz death, and the stirring music composed by The Recorder in the Nineteenth Century. 16 Richard Wagner for Siegfried’s funeral near by Douglas MacMillan the end of the four-part epic Ring cycle, af- 4 Arranging an Orchestral Work for Recorder Quintet . 22 ter which Brunhilde flings herself on the The eleventh in a series of articles by composers and arrangers hero’s funeral pyre and sings for another discussing how they write and arrange music for recorder, 10 minutes or so. by Carolyn Peskin Death’s knock shows up in Tchaikovsky’s symphonies and, under- scoring the underlying sorrow of war, in DEPARTMENTS the theme song from M*A*S*H—titled Advertiser Index .
    [Show full text]
  • Ommunity Onnections
    ommunity onnections CLARION UNIVERSITY OF PENNSYLVANIA FALL 20122014 Dear friends, Mary L. Seifert Cultural Series Change is essential to growing stronger and ensuring we continue Mary L. Seifert, whose rich family history with Clarion to live our university mission of University can be traced to 1907, loved music and the arts. providing transformative, lifelong As an investment in young people, she endowed a culture and learning opportunities through lecture series at Clarion University to ignite the passion for innovative, nationally recognized learning that she encouraged. Through that endowment, the programs delivered in inclusive, Mary L. Seifert Cultural Series Endowment of the Clarion student-centered environments. University Foundation, Inc., was established to provide our On the next few pages, you’ll read community with cultural experiences that inspire learning about many exciting changes through thoughtful discussions. happening at Clarion University Past series explored the themes “Realities of Race” and and in the Clarion area. “In God We Trust?” and brought to Clarion the late Dr. Maya One of the most promising partnerships is with the Clarion Angelou, Spike Lee and a week-long visit by Tibetan monks. Borough in the “Blueprint Communities” initiative, the goal of which During the 2014-15 academic year, the Mary L. Seifert Cultural is to commercially revitalize Clarion’s Main Street. A strong and Series will explore “Beauty Matters,” a theme that encourages vibrant Main Street is important to our community and to the us to explore beauty and the ways in which it matters. The university. As I have said many times, “We are in this together – theme is expansive, with the potential to include topics as university and community.” diverse as the environment, the body, the arts or the social Most visibly, you will see in many ways that Clarion University is context.
    [Show full text]
  • NL 2020 Vol1edit
    Titre European Shakuhachi Society Newsletter 2020, Vol.1 Cover picture : ”Robuki-Wave at the time of Covid-19”, screen shots of shakuhachi players from the video made by the WSF22 team Grateful thanks in this number : - for the pictures to Clive Bell, Michael Hartley - for the English to Mike McInerney - for translation into English to Michael Coxall, Fuu Miyatani French, Galina Sgonnik 2020 Vol.1 Publication officers: Véronique Piron and Jose Vargas-Zuñiga INDEX Letter from the editors 4 Letter from the chairperson 5 ESS Announcement NowHere2020, The First ESS Online Festival 6 Miscellany - Shakuhachi In Crisis 7 by Clive Bell - Robuki-Wave in the Time of Covid-19 12 Introduction by Véronique Piron and feedbacks (texts in English, German, Japanese, French, Russian) poem by Jose Vargas-Zuñiga 20 Interview Interview with Mizuno Kohmei 21 by Yerasimos Dimovasilis Maker’s corner Interview with Kodama Hiroyuki 24 by Jose Vargas-Zuñiga The ESS - ESS Newsletter Guidelines for Contributions 28 - ESS membership 29 - Ways to get in touch 30 Letter from the editors ESS Newsletter 2020-1 Dear shakuhachi friends We hope you are faring well, and that shakuhachi has proved to be a friend of good help, keeping you more calm in yourself and more focused, in these strange and uncertain times. We are glad to present another number of the ESS newsletter ; this will be the latest for us as mandated publication officers, so we hope that you will like it. In this edition, prepared at a time when those of us, after a long period of lockdown, had to spend energy on reorganizing their lives, you will find two relevant articles : an assessment of the situation on the shakuhachi in Japan ”Shakuhachi in crisis?” written by shakuhachi player Clive Bell, and a set of feedbacks from all kind of players around the world and their relationship to shakuhachi in a very concrete and urgent ritual : ”Robuki-Wave in the Time of Covid-19”.
    [Show full text]